Administrators at Duke University have devised a creative program to encourage medical students to practice mindfulness and take time for themselves during a rigorous and demanding course of study.
A partnership between the Office of Learning Environment and Well-Being and Duke Arts Create established a free workshop that takes place twice a month to provide students the chance to unwind using various artistic media. The events help students engage in new art forms, connect with their peers and learn skills they can apply to their careers and beyond.
In the Literature
A 2018 research study found that medical students who had greater exposure to arts and humanities had better empathy, emotional intelligence and wisdom than those who didn’t. They were also less likely to develop burnout. Another study showed that art courses reduced stress for students enrolled in medical school.
Crafting opportunities: Duke’s School of Medicine enrolls over 1,400 students in a variety of health-profession programs, including doctor of medicine, physician assistant, master of biomedical sciences and doctor of physical therapy programs, each with its own goals and accrediting body. Students represent a variety of backgrounds and experiences, so “there is no one-size-fits-all strategy for well-being,” said Jane Gagliardi, associate dean for learning environment and well-being for the medical school.
Medical school students are able to participate in wider campus events, but the programs often feel siloed or off-limits to them, Gagliardi explained.
Gagliardi first met Anna Wallace, who is the student engagement coordinator for Duke Arts, the university’s school of arts, at a student resource fair where they both had tables. Wallace had decorated hers with brown paper and crayons, allowing visitors to stop by and color.
Gagliardi realized how much something as simple as coloring could be a pick-me-up for students, and she created a partnership with Wallace to provide art workshops for those in the medical school.
Getting artsy: The free workshops, part of Duke Arts Create Workshops, take place twice monthly throughout the academic year on Duke Medicine’s Wellness Wednesdays.
Activities include watercolor painting, needle felting, poetry through text deconstruction, zine making and singing workshops. One notable art project focused on the Duke chapel; students used watercolors to decorate a freely drawn image of the chapel.
Students bring a variety of skills and talent levels to the workshops, sometimes surprising the staff.
“It’s the students you think are the most clearly science-focused who are also just brilliant at expressing themselves creatively and supporting their classmates and colleagues at doing those things,” Gagliardi said.
Some of the events are cohosted by affinity organizations on campus; for instance, the Lunar New Year celebration was conducted in partnership with the Duke Med Chinese Association, which taught students paper cutting and shared treats like boba tea.
Events have been well received by everyone who’s participated, Gagliardi said, but having high attendance isn’t a goal. Rather, Gagliardi hopes such efforts show students that the school cares about their mental health and well-being.
“I wanted an outlet to be free and let my creativity flow,” said Carly Williams, a Ph.D. student in the department of biochemistry, according to a Duke Arts press release. “I remembered doing watercolors as a kid and loving it, so this seemed like the perfect art session for me. And it turned out to be a relaxing two hours of painting and good company.”
One of the benefits of the program is that it’s fairly low budget and easy to implement, Gagliardi said, allowing the school to pivot and be responsive to student interests as they arise.
Holistic support: In addition to art workshops, Gagliardi heads various well-being initiatives across the medical school to support students and staff.
“Finding ways to maintain your humanity while pursuing your rigorous study is important,” she said, particularly in a field like medicine, in which students learn about illness, recovery and death. “Equipping people with skills and strategies to deal with distress is important to maintain a functional ability to learn.”
Each week, she hosts Granola With Gagliardi, open hours for anyone to stop by, pick up a KIND bar and talk with her.
Duke Medicine also regularly collaborates with Medicine in Motion, hosting events like power yoga, running or pickleball tournaments to promote physical activity and well-being.
In the future, Gagliardi hopes to connect additional student groups with Wellness Wednesday events.
Do you have a wellness intervention that might help others promote student success? Tell us about it.
The image of the suffering artist is a cliché that faculty and staff who work with students in the performing and visual arts are trying to dispel. They believe that creative inspiration doesn’t have to come at the expense of health and well-being.
“You definitely have to be able to connect on some level to that artistry. But that doesn’t mean necessarily that you have to suffer mental health issues to be able to access this,” said Frank M. Diaz, professor in the Indiana University Jacobs School of Music.
A growing awareness of young people’s mental health and the challenges depression and anxiety pose to student retention and college completion has inspired services for students of underrepresented minority backgrounds, student athletes and other populations on campuses.
More performing arts programs have also begun embracing education on emotional and physical well-being to equip students to succeed in college and beyond.
Under pressure: Performing arts students, like many college attendees, face academic pressures—as well as financial responsibilities to pay for college—that can put them under immense stress. A 2024 survey by Inside Higher Ed and Generation Lab found that just under half of respondents indicated their top stressor while enrolled was balancing academics with personal, family or financial responsibilities.
Performers also juggle rehearsals, whether individual training or as part of an ensemble, that can require several hours of work outside of regularly scheduled classes. Musicians are often in practice rooms for hours each day, causing them to deprioritize their well-being.
“Some of them practice for six hours,” Diaz said. “That does not include their academic courses, their music courses, their ensembles that they’re in, their lessons and their studio classes. While you pile all that on, it’s a lot.”
Young people in general are more open to talking about mental health compared to previous generations, but performing arts students often feel cultural pressures to maintain certain appearances.
“There’s a lot of stigma around the arts and mental health,” Diaz said. “Music students—we also have ballet here—don’t like to admit that they have issues. It’s seen as a weakness, so it’s been traditionally not talked about in our field.”
Additionally, the performing arts can put pressure on students’ physical health if they’re not trained or properly supported. A research study of music schools in Switzerland and the U.K. found music students had lower levels of physical and psychological health compared to the general population.
This unique combination of factors has pushed some colleges and universities to invest in specialized resources dedicated to students studying music.
Institutional change: Members of the National Association of Schools of Music, the accrediting body for most music programs, are required to provide music students with information about physical and mental health. Most institutions meet this requirement through a dedicated webpage where students can browse campus and external services. If you ask James Brody, director of the Musicians’ Wellness Program (MWP) at the University of Colorado, Boulder, College of Music, that’s just the tip of the iceberg.
Brody and his colleagues have been engaging in this work informally for over a decade. In 2020 the university rolled out an embedded counseling program, which provided the College of Music with a dedicated mental health clinician, Matthew Tomatz, to lead outreach and deliver services to music students. Tomatz, a former musician himself, receives referrals from faculty and staff to meet with students and provides regular group therapy for student musicians to engage with peers and talk about their struggles.
MWP was officially established in 2021, providing physical and social wellness education to learners across CU Boulder’s school of music to prevent and recover from injuries for long-term thriving.
Approximately 160 students participate in MWP offerings each year, and more than 130 music students accessed counseling and psychiatric services in the 2022–23 academic year, according to a university press release.
The Office of Wellness and Arts Health Initiative (OWAHI) at the Jacobs School of Music was established in 2023 as a way to increase student access to supports. The school is home to 1,600 students, making it one of the largest music schools in the U.S. The size can make music students more isolated from the larger campus community of Indiana University, because “everything [within the music school] is in one place and our students never go out and venture into this Big Ten campus that we have,” Diaz said.
Instead of making students seek out resources, the school centralized offerings into the OWAHI, creating a one-stop shop for a variety of support services that are student-centered and student-led.
Social wellness: One of the undertones of performing arts programs is competition; students fought hard to win a spot at an accredited music program, which can create feelings of rivalry and isolation from their peers.
Jacobs School of Music students enjoy a holiday party thrown by the Office of Wellness and Arts Health Initiatives in partnership with the Jacobs School’s Health and Wellness Committee.
Wendi Chitwood/Indiana University
To combat this narrative, Diaz created events centered on relationships. “Our data basically indicates that people are seeking community. They don’t know how to find it; they don’t know how to build good relationships. They know they want them. So, to me, that’s the basis of everything we do.”
OWAHI offers drop-in office hours for students to get snacks, talk with their peers and engage in destressing activities, including mindfulness training, massage, games and yoga. In addition, the office partners with the School of Social Work to provide student-led wellness coaching, which both connects learners with peers and gives social work students needed supervised practicum hours.
Jacobs students participate in a meditation session provided by the Office of Wellness and Arts Health Initiatives.
Jacobs School of Music/Indiana University
OWAHI offered about 70 coaching sessions in 2023–24 and an estimated 300 sessions during this academic year, which Diaz attributes to increased engagement on campus, student-led marketing and positive partnerships. Students who participate in services are also demographically representative of the school’s population, and Diaz has been pleased to see high participation rates among male students (41 percent of participants), given perceived barriers to engagement in mental health supports for men.
At New York Film Academy in Los Angeles, acting professor Victor Verhaeghe noted that his students tended to arrive with fewer socio-emotional skills, making it harder for them to engage. Verhaeghe has started using class time to lead meditation and shared affirmations, allowing students to become more vulnerable and connected to each other, as well as create self-love.
“I say, ‘Let’s start with sharing who you are; let’s open up to discussion,’” Verhaeghe said. “Some people are not ready to share, but I’ll share my story … It’s all about rewiring, it’s about changing the programming. As an artist, vulnerability is essential. You have to be able to tap into that.”
Physical wellness: Injuries among college students often come from late-night recklessness, sports, accidents or overwork. Less common is the physical strain improper musical technique can have on musicians.
“People don’t understand that musicians get injured, and the injury rate is high—as high as 80 percent of college students,” Brody of CU Boulder said.
Brody offers one-on-one consultations and lessons with students to help them recover from injury, misuse, anxiety or physical tension, helping them connect music and the body to ensure they can continue playing for many years. “I am continually amazed at how anatomically illiterate most musicians are,” he said.
Professor James Brody, director of the Musicians Wellness Program, instructs a student musician on clarinet.
University of Colorado, Boulder
He’s passionate about physical wellness education for musicians, and admits he sometimes has to pull back from overloading students with anatomy lessons.
“Some people say, ‘No pain, no gain,’” Brody added. “I say, ‘No pain, no pain.’ It really shouldn’t hurt.”
CU Boulder music students can also receive free hearing tests, a common practice for music schools to ward against noise-induced hearing loss.
The University of North Carolina at Greensboro offers two elective courses within the school of music that connect physical health to performance, encouraging students to move strategically and reduce tension.
In the future, Brody would love to see donor support for more resources to support musician well-being, including specially designed hearing protection and vocal health support from a laryngologist.
Occupational wellness: College students in general are anxious about their careers—71 percent of students say they feel at least somewhat stressed thinking about life after college—but the performing arts has always been an especially challenging field. Recent data from the Bureau of Labor Statistics found that only about 20 percent of students with a fine arts degree actually work in arts, design, entertainment or media occupations.
“Every single student is terrified right upon getting out because of the complete unpredictable nature of this business,” Verhaeghe said.
Brody noted student musicians’ anxiety levels are high regarding their future plans, particularly due to a shrinking number of symphony orchestras and full-time opportunities. “Still, folks line up to do it,” he said. “We don’t have any lack of talent and motivation.”
In class, Verhaeghe talks about the challenging elements of being an actor, from not having work to playing demanding roles with long hours. “I think it’s important that we talk about the next phase,” he said. “I believe this is a calling to do this work, and not everybody’s called … if you really want to have a craft, then you will invest.”
Performing arts students also often live with the tension of trying to balance passion and work. Many people consider art to be a healing or soothing experience, allowing them to engage in mindfulness or relaxation. “The evidence is pretty clear that musicians and artists in general are the exception to the, ‘I do art and I feel good’ thing, like, we don’t experience that because it’s vocational,” Diaz said.
There’s one exception to this work, Diaz noted: when art becomes a service. At IU, students can participate in performances at senior centers through the Senior Outreach Program.
“Instead of going as ‘I’m going to perform this awesome thing with you,’ [it’s] ‘I’m going to connect with you, I’m going to go learn your name and learn what you like and perform for you at these senior community centers,’” Diaz said.
Faculty members agreed there’s a need to encourage students not to burn out or overexert themselves for the sake of their art, because it’s not sustainable in the long term and reduces their career potential.
“The culture is gradually changing because it has to,” Brody said. “If it doesn’t, it’s like feeding people into a wood chipper.”
New College of Florida could soon expand its footprint in a significant way if plans to absorb a nearby museum and local branch campus of the University of South Florida come to fruition.
Current proposals would see New College taking over stewardship of the John and Mable Ringling Museum of Art in Sarasota and other associated properties and merging with USF Sarasota–Manatee. Such moves would nearly double New College’s acreage and triple its enrollment at a time when critics have raised questions about spending at NCF, where the cost to Florida taxpayers per student is roughly 10 times higher than any other institution in the State University System.
The proposed expansion would continue efforts to grow NCF after state leadership tasked a new board in 2022 with shifting the small liberal arts college in a conservative direction and growing its student body, which the administration has so far aimed to do by adding athletic programs.
But critics have raised concerns about a lack of transparency around both potential acquisitions and whether New College has the capacity to manage another campus and a sprawling art museum.
A Contested Acquisition
New College officials have quietly been preparing for a merger with USF Sarasota–Manatee for at least several months, according to public records obtained by WUSF, the local NPR affiliate.
A WUSF public records request turned up a draft press release from New College announcing the merger between the two institutions as well as talking points and details on the transition.
Details in the documents make the deal sound more like an acquisition than a merger.
Students will have the option to transfer to another USF campus “or remain at New College,” according to the documents. Under the proposed plan, USF Sarasota–Manatee employees would possibly be reassigned to other USF campuses or “to comparable roles” at New College.
University of South Florida Sarasota–Manatee main building.
Alaska Miller/Wikimedia Commons
Although it appears that New College would absorb USF Sarasota–Manatee in the merger, New College is the much smaller of the two institutions. In fall 2023, it enrolled 731 students compared to more than 2,000 at USF Sarasota–Manatee, according to details on the university website.
“As we reimagine the future of higher education in Florida, this integration is a testament to the power of collaboration,” New College of Florida president Richard Corcoran said in the news release obtained by WUSF. “Governor [Ron] Desantis [sic] has shown exceptional leadership in enabling this bold vision, one that positions New College to advance as a model of academic excellence while fostering economic innovation and impact in the Sarasota-Manatee region.”
The news release adds, “This collaboration is more than a merger,” casting it as “an opportunity to design a singular institution that meets the demands of the 21st century” and allows USF to focus on its mission as a research university and NCF to become the nation’s top liberal arts college.
“The integration also addresses longstanding inefficiencies, consolidating administrative functions and aligning academic offerings. USF-SM’s programs often overlap with those offered by other public higher education institutions in Sarasota and Manatee counties, including New College and State College of Florida,” part of the draft press release from New College reads.
New College officials did not respond to requests for comment from Inside Higher Ed.
USF president Rhea Law is also quoted in the draft press release, stating that “by coming together, we honor the distinct institution while creating a stronger foundation for the future of both institutions and our communities.”
But USF officials have distanced themselves from the announcement since it emerged publicly.
“Please be aware that the documents are several months old and include a draft press release and talking points that were prepared by New College. USF did not approve the proposal or communications drafted by New College. There have been no plans made to make any such announcement,” USF spokesperson Althea Johnson wrote to Inside Higher Ed by email.
However, Johnson noted that the two institutions have engaged in talks since last fall, when Florida Board of Governors chair Brian Lamb asked them to “identify additional synergies.”
Asked if NCF invented quotes attributed to Law and other USF officials, Johnson reiterated, “USF did not draft or approve of the communications. They were prepared by New College.”
Community members have also opposed the move. Last week more than a dozen former USF Sarasota–Manatee officials and community partners signed on to an open letter against the merger, calling the move “a bad deal for our students and families, employers and community.” They wrote, “There has been no community consultation on the impacts” of the proposal.
The merger proposal would require legislative approval. Although no bill has been filed, Republican state senator Joe Gruters—whose wife works at NCF—has thrown support behind the idea in interviews. Gruters did not respond to a request for comment from Inside Higher Ed.
Expanding Into the Arts
While NCF quietly planned to absorb USF Sarasota–Manatee, an effort to take stewardship of the Ringling Museum, currently administered by Florida State University, was also underway.
Visitors view paintings in the Ringling Museum of Art’s Peter Paul Rubens room.
When DeSantis unveiled his state budget plans in February, many observers were shocked to see a proposal for New College to take over the Ringling art museum and affiliated properties, which includes a former home of the namesake founder, and the Ringling Museum of the Circus.
Florida State has had stewardship of the Ringling properties since 2000. FSU’s responsibilities include managing the Ringling’s endowment and employing the staff that operate the facilities, which does everything from curate collections to provide security and other functions. One recent report counted 229 employees on the FSU payroll at the Ringling.
Many museum supporters are appalled at the idea of a New College takeover, including Nancy Parrish, a former member of its board and president of the nascent Citizens to Protect the Ringling. She argues FSU has transformed the Ringling from a property that had fallen into disrepair when it took over stewardship in 2000 to a thriving institution with annual surpluses. Parrish worries that NCF is incapable of taking on the same role and would upend that progress.
“New College is in a costly, complicated, precarious transition. How can it possibly manage an institution larger than itself? And an institution as complicated as a museum was never in its business plan. It’s outrageous government overreach and an outrageous waste of taxpayer money, because it would take millions to replace what FSU provides the museum,” Parrish said.
The timeline for the proposed transition from FSU to NCF by Aug. 1 is also rushed, she argues.
Amid the uncertainty over the Ringling’s future, she said that “donors are fleeing in panic.”
Details on how NCF would take over the operations are not laid out in the DeSantis proposal, and NCF officials did not fulfill a public records request about the transition prior to publication.
“This transition is not only sensible; it is a collective win. It is a win for Sarasota, reinforcing its reputation as a global leader in the arts and higher education; boosting tourism, cultural engagement and economic growth—all while preserving a historical gem,” Corcoran wrote.
He added that NCF stewardship would both expand “research partnerships, student engagement and statewide academic initiatives in the arts and humanities” and provide “an infusion of resources” to allow it “to elevate its world-class exhibitions, research and outreach.”
FSU did not respond to requests for comment from Inside Higher Ed.
The Financial Picture
New College’s potential expansion comes as it has grown in other ways since DeSantis appointed a conservative board that tapped Corcoran, a former GOP lawmaker, as president.
Since 2022, NCF has added six intercollegiate teams and plans to field 24 altogether by 2028. Beyond the inaugural programs in sports such as basketball, baseball and soccer, New College plans to expand to tennis, golf, bass fishing and various other athletic pursuits. NCF is investing in developing its athletic facilities in addition to paying for coaches and athletic scholarships.
New College’s strategic transformation has come with a substantial price tag for taxpayers. The state has already infused New College with millions of dollars since the change in leadership. And NCF’s leaders want more state money—at least $200 million over the next decade.
But that spending has prompted some pushback from the DeSantis-appointed Florida Board of Governors, which oversees New College and other members of the State University System.
FLBOG member Eric Silagy has challenged Corcoran at times on financial transparency and the high cost per student, calculating that NCF spent $91,000 per student in the 2023–24 academic year. The system average is $10,000, Silagy said at a September board meeting.
Corcoran initially disputed that number, arguing it was $68,000 per head.
But at a January meeting, Silagy said he had spoken with Corcoran, who now agreed that figure was between $88,000 and $91,000 per student, a figure Silagy said continues to climb. He projects that NCF could soon spend between $114,000 and $140,000 for each student.
Concerns about fiscal management also prompted a shake-up at the New College Alumni Association last month, when then-director Ben Brown resigned in protest because of “a deteriorating institutional relationship” between the college and alumni, and concerns that Corcoran had squandered funds. Brown also wanted more transparency.
Brown told Inside Higher Ed he is concerned about the state giving Corcoran more power.
“There’s no ingrained alumni opposition to the idea of being part of USF or doing things jointly with USF, but the current alumni sentiment is very clear that for this administration, operating the way it is, to take responsibility for part of USF is dangerous to the state and to the taxpayers,” Brown said.
Pursuing a career in art therapy can help turn your creative and artistic abilities into a mental health profession, allowing you to support others, especially at a time when Americans are facing unprecedented mental health crises.
Every day, art therapists support their clients within a therapeutic relationship to use art and creativity to improve their mental, emotional, and physical well-being. They work with people of all ages and backgrounds — from children experiencing developmental delays or emotional and behavioral challenges to military service members with PTSD to older adults struggling with dementia or Alzheimer’s disease.
“At the heart of my work as an art therapist is the creativity and self-expression found in art-making. We’ve all experienced it as children, and some of us have the joy to work with art to help people and communities heal. I’m always inspired by clients who may be afraid of using art materials as non-verbal language at first, but try it anyway,” explains art therapist Christianne E. Strang, Ph.D., ATR-BC.
Particularly when people are struggling, facing a challenge, or even a health crisis, their own words or language may fail them. During these times, an art therapist can help clients express themselves in ways beyond words or language. Art therapists are trained in art and psychological theory and can help clients integrate nonverbal cues and metaphors that are often expressed through the creative process.
According to research, art therapy helps people feel more in control of their own lives and helps relieve anxiety and depression, including among cancer patients, tuberculosis patients in isolation, and military veterans with PTSD.
According to art therapist Kathryn Snyder, Ph.D., ATR-BC, LPC, “Engaging in art therapy offers imagery and creative processes that support communication, expression, and insight into, as well as release of, difficult emotional experiences.”
Opportunities for art therapists
Art therapists serve diverse communities in different settings, such as medical institutions like hospitals, cancer treatment centers, and psychiatric facilities; outpatient offices and community centers; and schools. Many art therapists have independent practices. They also help support individuals and communities after a crisis or traumatic event, like a mass shooting or a natural disaster.
Training in a broad range of psychological theories and ways to use art media and creative processes is necessary to becoming an art therapist who is able to help people process and cope with mental health challenges. Art therapists hold postgraduate degrees and are then credentialed by the Art Therapy Credentials Board as ATR (art therapist registered) or ATR–BC (board-certified art therapist registered).
On 18 November I was ill. I recovered in time to travel to Helsinki for a symposium two days later, but winter storms shut down the airport, delayed flights and lost luggage, including mine. The symposium director Dr Timothy Smith (image 2 below, to the left) had to step in to act as my wardrobe assistant. Like many neurodivergent academics, Tim works across an astonishing range of knowledges, including political science, fine art, public policy and pedagogy. But I’m quite certain that sourcing for clothes to fit 155cm grumpy people isn’t part of their typical repertoire.
Image 2Image 3
Image 2: A symposium with person standing to the left holding a microphone; another in the middle, seated, in front of a projection with book cover and QR codes and next to a screen showing live captioning; more people in the foreground on different forms of seating and being
Image 3: Fidget toys placed on top of a paper file that reads ‘UNIARTS HELSINKI’, with a name tag with a lime green strap and name ‘KAI’.
Tim’s Neurodiversity in the Arts Symposium, which took two years of advocacy and planning, and draws on several more of research across neurodiversity and art education, took place at the University of the Arts Helsinki, modelling best practices for inclusivity, not just for neurodivergent folx. Universities, watch and learn. Yes it can be done. So, what does a symposium led by love look like in action? Let’s spell out a few ways how:
Programming not to neo-liberalist but ‘crip time’ (Kafer 2013), enabling us to process our thoughts, with 30 minute breaks between sessions, and a 2-hour lunch break;
Employment oflive professional CART (Communication Access Real-Time Translation) captioning – not the still racist AI captioning that does not grasp ‘non-standard’ accents (image 2, to the right);
Where divergent modes of being – including horizontally, in motion etc, not just seated or erect – are affirmed (image 2, foreground);
Inclusion of fidget toys in the goody bag (image 3);
Provision of quiet spaces – no, we’re not talking about a broom cupboard or first aid room doubling, but a (care-)fully decked out sensory rooms for group or solo use, with low lighting, different soft furnishings as well as more sensory objects for people to shut off, calm down and/or regroup (image 4);
Detailedmaps, diagrams and instructions for ‘walking or wheeling’ to venues; including for a dinner, at a five-star hotel, which was a delicious vegan spread – and entirely free of charge;
Priced at less than one-third the fee of a usual conference at €100 – and that’s for ‘participants receiving full institutional financial support’; otherwise, ‘please select the €0 fee option’;
Elevating and celebrating diverse body-minds-worlds whose research, creative and professional practice gather, collide and transcend disciplines, fields of knowledge, cultures, geopolitical borders, and specialisms and in the lineup. This includes shy*play, a pedagogical platform, collective, and art practice comprising teacher-researchers from Netherlands-Spain Antje Nestel and Aion Arribas, who invite us to ‘do neurodiversity’ (images 5a-5b); Estonian-UK PhD candidate Iris Sirendi discussing their Curating for Change curatorial fellowship at the Museum of Liverpool and urging – no, daring – the arts and cultural sector to step up and ‘crip the museum’ (image 6); US-Canadian-Polish feminist researcher and author of several books including Asexual EroticsProfessor Ela Przybylo disclosing their new identity/positionality of being autistic, and inviting responses Towards a Neuroqueer Conference Manifesto/a/x.
Image 4Image 5aImage 5b Image 6
Image 4: Sensory room, with low blue-green lighting, soft furnishings and soft toys
Image 5a: shy*play’s Antje Nestel and Aion Arribas, both holding microphones and reading from papers strewn on a long table
Image 5b: people ‘doing neurodiversity’ in different ways, including by displaying their creations on a wall that acts as a shared canvas
Image 6: Estonian-UK PhD candidate Iris Sirendi at a long desk speaking to a projection with a slide with the heading ‘What’s Next?’ and a logo that reads ‘The Neurodiverse Museum’
The above are just a few of the highlights from the in-person session on 22 November 2024, which complements an online symposium with a different programme a week prior on 15 November 2024 for those who prefer the digital interface, both of which are recorded with transcripts which all participants can freely access.
I’m not singing the praises of the Neurodiversity in the Arts Symposium because I was the keynote speaker.
I’m saying the above as I’ve been a keynote as well as participant in more than 100 conferences – and I’m still allergic to them, not least as someone who is hyperactive and literally cannot sit still. I’m also saying this as someone who’s curated several, including one on running as an arts and humanities discourse that a 2014 Guardian article said ‘other conferences could take a leaf out of’, for its 8-minute sprint formats and multi-modal approaches including film screening, meditation sessions and run-chats.
But Tim’s conference was way better. The symposium is prioritising not just neurodivergent and queer – neuroqueer (Walker 2021) – perspectives. Following the positionality of multiply-minoritised researchers in higher education Angel L. Miles, Akemi Nishida and Anjali J. Forber-Pratt at the University of Illinois at Chicago and Vanderbilt University as expressed in their powerful open letter to White disability studies and ableist institutions of higher education (2017), the symposium focuses on research that counter ‘white supremacy and racism; colonialism and xenophobia; ageism; sexism and misogyny; cisnormativity and transphobia; and heteronormativity and heterosexism’.
And I’m sure that Tim, like me, wants other conferences to come, to even better ours.
So, take our baton. Run with it.
Why neurodiversity? Why now?
‘Neurodiversity’ – broadly the coexistence of different ways of processing information, learning and being – has exploded as a buzzword in the past few years. If you didn’t know that 15-20% (Doyle 2020) of humans are autistic, with dyslexia, Tourettes, ADHD and other forms of neurodevelopmental processes, you will have run into the extensive media coverage, or seen your Gen-Z students or kids declaring their ‘neuro-spiciness’ on Tik Tok.
This year alone, I was external examiner for two creative PhDs by/for/with neurodivergence, and helped deliver one PhD candidate to the finish line and whom, since 28 November, can now add ‘Dr’ to their name, likely to the chagrin of those who think that only clinicians are ‘real’ doctors and experts. Collectively, these efforts are countering medicalised and deficit approaches to cognitive difference. By 2050, 1.94 billion of the 9.4 billion population will be neurodivergent – making neurodivergence far from a ‘niche’ phenomena or area of research, but one with substantive critical mass.
Those with social capital wear their difference as proud badges of honour. So far so ‘authentic’.
But surprise, surprise – for the multiply-minoritised, their difference continues to be demonised, pathologised, infantilised, and/or policed. This includes teachers and researchers who draw on their neurodivergence in their teaching and research. That’s also why many aren’t out – or have/want access to diagnosis (which themselves have long waiting lists, are costly and more), etc, and often aren’t reflected in the official figures and studies. It’s also only recently been understood in leadership studies that when a white heterosexual cis-man expresses his ‘true self’, it’s just not acceptable, or even laudable. For those who are not straight, not white, not of the right class, or the right skin tone etc – authenticity comes at a high cost – including literally so. Being dyslexic, I struggle with normative approaches to reading and writing – but reading and writing are literally bread and butter for an academic! Disclosing that you cannot read or write would be tantamount to career-suicide, especially if you are on a fixed-term contract – if you have been able to survive the ableist, racist and sexist HE system at all, that is.
Harvard, World Economic Forum, NESTA and other global bodies have been selling neurodivergence as the ‘next talent opportunity in the workplace’, ‘competitive advantage’ and a ‘neuroleadership’ antidote to in tackling wicked challenges for the Fourth Industrial Revolution — but without neurodivergent voices in this discussion, isn’t this objectifying and othering?
Then, there’s a certain cartoon-tycoon who has been dominating the headlines. When not firing their critics from their factories and firms, or firing rockets to colonise the moon and Mars, this person is firing spats on social media — before buying up the site to make it their temple for ‘unmoderated toxicity’. After firing pot-shots at child-free cat ladies, they’re asking ‘high-IQ revolutionaries’ to work for no pay for an incumbent government. The latter call is interesting because this person had announced that they are ‘with Aspergers’, using the outdated terminology still instrumentalised by certain ‘high-functioning’ autistic people, to denote that they are a genius — ie a high-IQ revolutionary themselves!
Why neurodiversity, love and HE art and design?
As an autistic child-free cat lady, it’s my duty to ask other neurodivergent artists, academics, activists and allies within Higher Education (HE) to do more and do better, to call out on dangerous neurodivergent figures and approaches, and to counter that with love. If Machiavellian misfits and messiahs weaponise their neurodivergence, so must neurodivergent movers and shakers dis-arm them.
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Caption: Love-led guidelines for to make spaces more inclusive, in diagram form with 8 blocks of texts. From Tan, Kai Syng. Neurodiversity In/& Creative Research Network shared, LIVE, CO-CREATED Community Guidelines since 2022
For several years, I’ve researched into and discussed the need to dismantle harmful narratives of neurodiversity. Through an art-psychiatry project, founding of a global 435-member network for neurodivergent innovators, I’ve urged for a decolonial — ie shift of focus away from knowledge and practices in the West and global north — and intersectional — ie consideration of a how multiple, complex contexts interact and intersect — approach. We’ve come up with love-led guidelines for activities (image 7). I’m editing a publication with a major academic publisher, which is possibly the first book with openly neurodivergent academics ranging from early career researchers to established, newly-‘out’ professors, to discuss our research through the prisms of neurodivergence and creativity (c2027). Along the way, we are introducing and foregrounding neurodivergent approaches to knowledge, creative research and writing with play, lived experience and more, thus challenging the dominant, normative habits demanded by the academic publishing industrial complex that emphasise the linear, causal, and ‘neutral’.
On this SRHE platform, I’ve previously discussed a neurodivergence-inspired pedagogical approach to transform HE culture, illustrating how this isn’t just an armchair exercise or a theoretical pontification from the ivory tower, with examples I have led, such as a four-day festival for Black History Month 2020 in Manchester. To mark Valentines’ day this year, I discussed the need to build love into HE curricula – standing on the shoulders of great artists, activists and teachers before us, like bell hooks, Paulo Friere and James Baldwin.
My keynote at the Neurodiversity in the Arts Symposium was entitled ‘Neuro-Futurism and Reimagining Leadership’. My performance-lecture was based on my book of the same title, subtitled ‘An A-Z Towards Collective Liberation’. Grasping how systemic oppressions are interconnected and how liberatory approaches to education must be joined up is vital in this discussion. I postulate a new intellectual agenda and action plan for ‘leadership’ as discourse and practice anchored in visual arts and arts education. Re-claiming the subject from business or arts management, and away from a trait/talent hinged on individualism, hierarchy, genes or luck, the book – and my performance – entangles critical leadership studies with socially-engaged art and relational aesthetics, embedding neuro-queering, futurity, and Chinese Daoist cosmology for the first time, to introduce ‘neuro-futurism’ as a beyond-colonial, (co-)creative change-making framework.
The participants of the symposium grasped this, responding by describing the performance-lecture as ‘phenomenal’. Brazilian artist-researcher Fran Trento, a postdoctoral researcher at the Department of Geosciences and Geography at the University of Helsinki, even took live notes and pictures to add to their mobile participatory art installation, and wheeled it around, further spreading love in HE – literally (Image 8). If it hadn’t been snowing so heavily, Fran would have wheeled their installation outside, beyond the ivory tower, to make visible what the abstract yet very simple four-letter word – love – can look like.
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Image 8: Dr Fran Trento standing next to their mobile installation that comprises a jacket onto which participants can make marks onto, scrolls of film, and a pail with cameras and other creative and critical tools to dismantle harmful narratives and approaches
Image 9: A signboard ‘Neurodiversity in the Arts Symposium’ covered in snow, in a street raging with a snow-storm with cars passing by in front of a building across the road
And love is critical if we want to dis-arm and dismantle violent master (sic) narratives and approaches of neurodivergence. If neurodivergence is a superpower — a trope I have also critiqued as, while useful, it can be reductive/fetishistic, and capitalised by the ‘high-functioning’ to self-select into an elitist club that excludes others — then there are also villains and Machiavellian messiahs who abuse their (super)power. The irony is — and yes, autistic people can grasp irony — is that these self-proclaimed ‘anti-establishment’ ‘outsiders’ are often the very personification and product of the system,as poster boys of capitalism and more. Remember the call for ‘weirdos and misfits’ outside the Oxbridge set to join Number 10 – by figures whose pedigrees were archetypal of the ruling class — private education, Oxford degree, political strategist to a prime minister similarly outfitted?
Now that’s weird!
Braving storms ahead
My luggage got lost – again – on my way back to the UK, but academic and arts and cultural workers must lose neither our focus or hope. As hatred becomes even more mainstreamed and normalised, minoritised body-minds and approaches will remain hardest hit. There will be storms ahead (image 9). We – and that includes you – must step forward and step up. As US author Octavia E Butler (1947–2006) warns, unless we build ‘different leadership’ by ‘people with more courage and vision’, we’ll ‘all go down the toilet’. That’s why the Black science-fiction bestseller, who was also dyslexic, wrote story after story that reimagined different, better realities.
To not go down the toilet, we must disarm those who weaponise their neurodivergence. Here are some of the things that neurodivergent academics, artists, activists and allies can do:
Shift your curricula to elevate and celebrate efforts that are truly leader-ful, joy-ful and equitable, and directed towards collective liberation. I’ve named several in this article. No excuses.
Stop the hierarchy of normality – within neurodiversity groups in and beyond HE too – that props up antics that are white supremacist, patriarchal, misogynist, racist, transphobic, homophobic, xenophobic, colonialist, capitalist, ableist and extractive. Stop fuelling the misfits and messiahs with ill-intentions.
Instead, invest in and donate your time, energy and skills to support love-led efforts. If you have a voice/ platform and can afford to, mobilise it to push back against the violence. People in senior management paygrades, make use of your position/proximity to the top of the food-chain to action positive change beyond lip service or generic policy statements about the civic duty of HE, and bring to life its promises about equity, social justice and inclusion.
On that latter note, I’m seeking to curate a 3-day international summit in 2026 that re-imagines HE art and design as a change-making and future-making force through neuroqueer, social justice and leadership prisms. This welcomes anyone with a stake in the arts and culture, higher education, social change and inclusive futures, to get together to explore the coexistence of different ways to (un-)learning and being in the world, to share best practices about inclusion, and to collectivise and co-create action plans for more inclusive futures within and beyond the art school and HE. Through quickfire provocations, transdisciplinary speed-dating, reverse-mentoring, co-creation of toolkits, skateboarding tours, running-discourses and other embodied forms of engagement, we will not just learn about ways to make ‘reasonable’ adjustments for neuro-divergent students and staff, but to learn about their innovative approaches, and thus reimagine ways to understand and do ‘leadership’, so as to make positive changes, within and beyond art and design and HE. This shift in paradigm to position art and design higher education is aligned with – and can amplify – other ongoing efforts in the sector, such as the Creative Education Manifesto. Get in touch if you’re keen to help do the work.
All that said, clearly, neither Tim’s symposium or my proposed summit are the only or last word in this matter. You, too, can lead with love, if you don’t already.Prioritise an intersectional approach to neuroqueer the curricula, towards dis-arming stories and approaches that are white supremacist, racist, colonialist, xenophobic, ageist, sexist, misogynistic, classcist, transphobic and heteronormative.
CREDITS: Photographs by Kai. Photograph of Kai by neurodivergent artist-curator-activist-PhD-candidate Aidan Moseby
Kai Syng Tan is an artist, academic, author, and agitator who adores cats and alliteration. Their bookNeuro-Futurism and Re-Imagining Leadership: An A-Z Towards Collective Liberation re-imagines leadership as a co-creative, neuro-queered practice centring anti-oppression and futurity: it was published in Summer 2024. See here to join the book tour. Sign up here to participate in the CHEAD Leadership Programme taster entitled What’s love got to do with leadership? led by Kai as a new CHEAD Trustee, which will feature a response by Pascal Matthias, Associate Vice President EDI and Social Justice, University of Southampton and Co-Founder at FACE (Fashion Academics Creating Equality). Kai is Associate Professor in Arts and Cultural Leadership, University of Southampton, UK. All views here are their own.
